DOCSLIB.ORG

R. STRAUSS ALSO SPRACH ZARATHUSTRA Tone Poem Tondichtung Op

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
R. STRAUSS ALSO SPRACH ZARATHUSTRA Tone Poem Tondichtung Op Edition Eulenburg No. 444 R. STRAUSS ALSO SPRACH ZARATHUSTRA Tone Poem Tondichtung Op. 30 Eulenburg RICHARD STRAUSS ALSO SPRACH ZARATHUSTRA Tone Poem Tondichtung Op. 30 Ernst Eulenburg Ltd London · Mainz · Madrid · New York · Paris · Prague · Tokyo · Toronto · Zürich CONTENTS Preface . III Vorwort . IX Préface . XVII Also sprach Zarathustra . 1 © 1904 by Josef Aibl Musikverlag © assigned 1932 to C.F.Peters Musikverlag Reprinted by permission of C.F.Peters Corporation, New York and Hinrichsen Edition Ltd, London Preface © 2013 Michael Kennedy Reprinted by permission Translations and all other matter © 2013 Ernst Eulenburg & Co GmbH, Mainz for Europe excluding the British Isles Ernst Eulenburg Ltd, London for all other countries All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher: Ernst Eulenburg Ltd 48 Great Marlborough Street London W1F 7BB PREFACE If we exclude the early ‘symphonic fantasy’ Beethoven’s ‘Pastoral’ Symphony (1808) and Aus Italien and the two large-scale orchestral Berlioz’s Symphonie fantastique (1831), but works with ‘symphony’ in their title (Domestic the true ancestors of the Straussian tone poem and Alpine), Richard Strauss wrote seven tone were the more concise, one-movement works poems1 between 1886 and 1898, that is be- officially designated ‘over tures’ – Beethoven’s tween the age of 22 and 34. Six of these are in Egmont (1809), Coriolan (1807) and Leonore the regular repertoire of the world’s leading No. 3 (1806), Mendels sohn’s Hebrides (1830) symphony orchestras. The brilliance of their and A Midsummer Night’s Dream (1826). scoring, the memorability of their melodies and Schumann’s concert overtures were in this line, the immediacy of their impact commend them emulated half a century later by Elgar in Frois- to audiences, performers and conductors alike. sart (1890), Cockaigne (1901) and In the South When they were new, they outraged conven- (1904). The chief developer of the genre, how- tional opinion. Today, when they are generally ever, was Liszt, who composed two pro- regarded as romantic classics, they still arouse gramme symphonies, the Faust and the Dante, controversy between those who rank Strauss as and a series of 12 one-movement symphonic a great composer and those who find him poems (his own term) while he was at Weimar flawed by spiritual and aesthetic deficiencies, between 1848 and 1861. Liszt’s symphonic a cynical manipulator of listeners (most of poems, which include Les Préludes (1848), whom are only too willing and happy to be ma- Mazeppa (1851), Die Ideale (1857) and Or- nipulated by such a master). pheus (1854), are less descriptive than The heyday of the symphonic poem lasted Strauss’s; his use of the epithet ‘symphonic’ is about 70 years, from 1850 to 1920. Briefly, the the clue to his aim to give a binding inner sym- symphonic poem is the most concentrated phonic logic and thematic development to his manifestation of programme music, that is, single-movement structures, however loosely music which tells a story or is deliberately de- episodic their outward form. scriptive. The symphonic poem chimed in per- Liszt’s example was followed more enthu- fectly with the Romantic’s wish for interrela- siastically in Bohemia, Russia and France than in tionship of all the arts and especially the inter- Germany, with outstanding contributions to the action of music and literature. Thus the drama repertoire by Smetana, Dvořák, Tchaikovsky, of the opera house was imported into the con- Saint-Saëns, Franck, Dukas, and Debussy, cert hall. In addition, the invention, develop- amongst others. In Germany, however, only a ment and improvement of instruments, and the handful of composers trod this Lisztian path consequent enlargement of the symphony or- and it did not include the giants Wagner and chestra, with the widening and intensifying of Brahms, nor Bruckner and Mahler. In 1885 its expressive capabilities, encouraged com- Hugo Wolf completed his Penthesilea; from posers to attain a more sophisticated and com- Schoenberg in 1899 there came Verklärte Nacht plex style. Not only could the sounds of nature and Pelleas und Melisande in 1902–3. The be imitated in music, but the characters of men minor figure Alexander Ritter (1833–96), who and women, their ideals and emotions, could married Wagner’s niece and worked with Liszt, be described. The two works which advanced wrote several Lisztian tone poems. Ritter was the range of programme music were an orchestral violinist, and it was while he was at Meiningen playing under his friend Hans 1 ‘Tone poem’ (Tondichtung) was the term Strauss himself von Bülow that he met the 21-year-old Richard coined and which he preferred to ‘symphonic poem’ IV Strauss who, in 1885, had been invited by Bülow fest, conducted by Strauss. Recording: Orchester to be his assistant conductor. Strauss was brought der Staatsoper Berlin (1926). up in a strictly classical tradition. His early works Till Eulenspiegels lustige Streiche, nach alter Schelmen- are in line of descent from Schumann and weise in Rondeauform für grosses Orchester ge- Mendelssohn. His father, principal horn player setzt (Till Eulenspiegel’s merry pranks, after an old rogue’s tale, set in rondo form for large or- in the Munich Court Orchestra for 42 years chestra), Op. 28, 1894–5. First performance: from 1847–89, detested Wagner as man and Cologne, Gürzenich concert, 5 November 1895, musician and hoped his son would do likewise. Cologne Gürzenich City Orchestra, conducted When Strauss went to Meiningen he was in the by Franz Wüllner. Recording: Orchester der full flush of Brahms-worship. But Ritter changed Staatsoper Berlin (1929). all that. He urged Strauss to follow Berlioz, Liszt Also sprach Zarathustra (Thus spake Zarathustra), and Wagner in developing the expressive ele- Op. 30, tone poem freely after Nietzsche, 1894–6. ment in music. Under Ritter’s influence he was First performance: Frankfurt, 27 November 1896, introduced to Wagner’s writings and to the phi- Frankfurt Museum City Orchestra, conducted by losophy of Schopenhauer. To quote Strauss on Strauss. this period of his development: Don Quixote, introduzione, tema con variazioni, finale. Fantastische Variationen über ein Thema ritter- New ideas must seek out new forms for themselves: lichen Charakters (Fantastic Variations on a the basic principle adopted by Liszt in his sym- theme of Knightly Character), Op. 35, 1896–7. phonic works, in which the poetic idea really did act First performance: Cologne, Gürzenich concert, simultaneously as the structural element, became 8 March 1898, Cologne Gürzenich City Orche- from then onwards the guideline for my own sym- stra, conducted by Franz Wüllner (solo cellist phonic works.2 Friedrich Grützmacher). Recording: Orchester der Staatsoper Berlin, with Enrico Mainardi Strauss’s tone poems (whether or not they are (cello), Karl Reits (viola) (1933). so described on their respective title-pages) Ein Heldenleben (A Hero’s Life), Op. 40, tone poem, may be usefully listed here in chronological 1897–8. First performance: Frankfurt, 3 March order and with details of first performances, 1899, Frankfurt Museum City Orchestra, con- and subsequent recordings conducted by the ducted by Strauss. Recording: Bayerisches Staats - composer: orchester (1941). Symphonia Domestica (Domestic Symphony), Op. 53, Macbeth, Op. 23, tone poem (after Shakespeare). First 1902–3. First performance: New York (Carnegie version (unpublished) 1886–8; second version Hall), 21 March 1904, Wetzler Orchestra, con- 1889–91. First performance (revised version): ducted by Strauss. Recording: Wiener Philhar- Weimar, 13 October 1890, Weimar Court Orches- moniker (1944). tra, conducted by Strauss; first performance of Eine Alpensinfonie (An Alpine Symphony), Op. 64, rescored revised version: Berlin, 29 February 1911–5. First performance: Berlin, 28 October 1892, Berlin Philharmonic Orchestra, conducted 1915, Dresden Court Orchestra, conducted by by Strauss. Strauss. Recording: Wiener Philharmoniker Don Juan, Op. 20, tone poem, 1888. First performance: (1944). Weimar, 11 November 1889, Weimar Court Orchestra, conducted by Strauss. Recording: Orchester der Staatsoper Berlin (1929). Tod und Verklärung (Death and Transfiguration), Op. 24, tone poem, 1888–9. First performance: Eisenach, 21 June 1890 (meeting of Allgemeiner Deutscher Musikverein), Eisenach Tonkünstler- 2 Richard Strauss, ‘Recollections of My Youth and Years of Apprenticeship’ in Recollections and Reflections (Zürich, 1949) V Also sprach Zarathustra man militarism plunged Europe into war. The effort of formulating it causes Zarathustra ner- Strauss came to know the writings of Friedrich vous exhaustion, but during his convalescence, Nietzsche while he was in Egypt in 1892. The in Nietzsche’s book, he becomes a transfigured philosopher’s being, his philosophy gushing forth in poetry, with references to mountains and sunrises, to polemics against the Christian religion in particular struck a chord in me, and reading him strengthened and the dancing of girls and the tolling of the mid- corroborated the antipathy which I had unconsciously night bell, and with invocations to the Will and felt since my 15th year for this religion which frees Eternity. Into this section, too, is inserted the its believers of responsibility for their own actions 11-line poem beginning ‘O Mensch, gib Acht’ [through confession].3 (‘O Man, take heed’) which Mahler comman- deered for a movement in his Third Symphony. It was this antipathy to religion which had led to It was this romantic imagery, expressed in ornate his break with Alexander Ritter over the last act language, that attracted composers to Nietzsche. of Guntram. Ritter, a devout Roman Catholic, It is surely no coincidence that three of the never forgave Strauss for his revision of the last masters of post-Wagnerian musical romanticism act. Originally the hero Guntram was to con - seized upon Also sprach Zarathustra almost fess his guilt to his religious sect and accept the simultaneously and independently – Strauss punishment they awarded him.
Load more

Recommended publications
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • Richard Strauss
    Richard Strauss Meister der Inszenierung Bearbeitet von Daniel Ender 1. Auflage 2014. Buch. 349 S. Hardcover ISBN 978 3 205 79550 6 Format (B x L): 13,5 x 21 cm Weitere Fachgebiete > Musik, Darstellende Künste, Film > Musikwissenschaft Allgemein > Einzelne Komponisten und Musiker Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Daniel Ender Richard Strauss Meister der Inszenierung BÖHLAU VERLAG WIEN · KÖLN · WEIMAR Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagabbildung: Richard Strauss, 1929 (© ullstein bild – Laszlo Willinger) © 2014 by Böhlau Verlag Ges.m.b.H & Co. KG, Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Umschlaggestaltung: Michael Haderer, Wien Layout: Bettina Waringer, Wien Korrektorat: Katharina Krones, Wien Druck und Bindung: CPI Moravia Gedruckt auf chlor- und säurefreiem Papier ISBN 978-3-205-79550-6 Inhalt Ein öffentliches Leben. Zur Einleitung Ein Kind seiner Zeit . 9 Die inszenierte Biographie . 18 Selbst- und Fremdbilder . 23 1. Vom Epigonen zum Genie „Ein sogenannter Charakter“. Umwelt und Familie. 33 „Nicht von hervorstechender Originalität“. Der Weg in die Öffentlichkeit . .42 „Zum Zukunftsmusiker gestempelt“.
    [Show full text]
  • Richard Lert Papers 0210
    http://oac.cdlib.org/findaid/ark:/13030/kt638nf3ww No online items Finding Aid of the Richard Lert papers 0210 Finding aid prepared by Rebecca Hirsch The processing of this collection and the creation of this finding aid was funded by the generous support of the National Historic Publications and Records Commission. USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California, 90089-0189 213-740-5900 [email protected] June 2010 Finding Aid of the Richard Lert 0210 1 papers 0210 Title: Richard Lert papers Collection number: 0210 Contributing Institution: USC Libraries Special Collections Language of Material: English Physical Description: 58.51 Linear feet70 boxes Date (inclusive): 1900-1981 Abstract: This collection consists of Richard Lert's video and audio recordings of performances, rehearsals and lectures, personal papers and his music score library. Lert was born in Vienna and trained as an orchestral conductor in Germany. He moved to the United States in 1932 with his family and was the conductor of the Pasadena Symphony Orchestra from 1932 until his retirement in 1972. creator: Lert, Richard, 1885-1980 Biographical Note Richard Lert was born September 19, 1885, in Vienna, Austria. He trained as an orchestral conductor under Arthur Nikisch and began his career in Darmstadt, Germany, where he met and married his wife, Vicki Baum, in 1916. They had two sons. Lert held posts in Frankfurt, Kiel and Hannover before becoming the music director of the Berlin National Opera. Lert and his family moved to Los Angeles in 1932, where he became the music director of the Pasadena Symphony Orchestra.
    [Show full text]
  • OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20
    OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall Highlights 2019/20 November Acclaimed soprano Diana Damrau is renowned for her interpretations of the music of Richard Strauss, and this November she sings a selection of her favourite Strauss songs. Page 12 September October Principal Conductor and Mark Elder conducts Artistic Advisor Vladimir Elgar’s oratorio Jurowski is joined by The Apostles, arguably Julia Fischer to launch his greatest creative the second part of Isle achievement, which of Noises with Britten’s will be brought to life elegiac Violin Concerto on this occasion with alongside Tchaikovsky’s a stellar cast of soloists Sixth Symphony. and vast choral forces. Page 03 Page 07 December Legendary British pianist Peter Donohoe plays his compatriot John Foulds’s rarely performed Dynamic Triptych – a unique jazz-filled, exotic masterpiece Page 13 February March January Vladimir Jurowski leads We welcome back violinist After winning rave reviews the first concert in our Anne-Sophie Mutter for at its premiere in 2017, 2020 Vision festival, two exceptional concerts we offer another chance presenting the music in which she performs to experience Sukanya, of three remarkable Beethoven’s groundbreaking Ravi Shankar’s works composed Triple Concerto and extraordinary operatic three centuries apart, a selection of chamber fusion of western and by Beethoven, Scriabin works alongside LPO traditional Indian styles. and Eötvös. Principal musicians. A love story brought to Page 19 Pages 26–27 life through myth, music
    [Show full text]
  • THROUGH LIFE and LOVE Richard Strauss
    THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
    iMffi BOSTON SYMPHONY TRA **** ft %?% Levine James | Music Dim "fe Bernard Haitink Cone1 \cvuu Seiji Ozawa Music Diircti « he Clarendon BACK BAY The Way to Live ; 'j v 11 B 1 1 1 1 1 # iilf)I « 1 1 '" ' ; ! i m r m if l Dill H incut ** IE DIC | m ''IS !! 1 iS a . i! W i PIE i w: i«. 1 114 IE fc, IBS OP 1 iir; * ! : jjj E*. aiwi ill yiM " r i. *' ; - '' • J £j L : • ' liur m §ii !! !l Hi v ii I J!! '! iii ni" fill «• «*« il 1191 III I INTRODUCING FIVE STAR LIVINGtm WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOR CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com U t I^^J^ BRELATED DC/\L COMPANIES, UPh REGISTER : U.S. GREEN BUILDING COUNCIL WITH ANTI SILVER CERTIFICATION whic The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, No Fe subject to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or described. being Void where prohibite agency has judged the merits or value, if any, of this property. This is not an offer where registration is required prior to any offer made. Table of Contents Week 6 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 29 A BRIEF HISTORY OF SYMPHONY HALL 35 THIS WEEK'S PROGRAM 36 THE PROGRAM IN BRIEF Notes on the Program 37 Johannes Brahms 49 Richard Strauss 65 To Read and Hear More..
    [Show full text]
  • AN ALPINE SYMPHONY by Richard Strauss Philharmonic Orchestra Carl St
    AN ALPINE SYMPHONY by Richard Strauss Philharmonic Orchestra Carl St. Clair, guest conductor Wednesday, March 29 ∙ 8pm Musical Arts Center A Message from Tonight’s Sponsor German American Bank The German American Bloomington team welcomes you to the Alpine Symphony. We are delighted to be a financial partner with the Jacobs School of Music to offer you this evening of musical entertainment. German American Bank was organized in 1910 in a southern Indiana community rich in German-American heritage—Jasper, Ind. Through the years, we have grown to 51 offices in 20 counties, including 3 offices in Bloomington. Our team is dedicated to helping individuals, families, and businesses achieve greater prosperity and quality of life. Together, our financial team builds lasting client relationships based on integrity, responsive service, innovation, and shared values. In the banking industry, we are consistently recognized as one of the top-performing community banks in the country. Our CEO, Mark Schroeder, was named one of three 2016 Community Bankers of the Year in the country by American Banker, an essential resource for breaking news, research, data, and opinion content for senior executives in the banking and financial services industry nationwide. Maintaining superior financial performance allows us to positively influence the health of our local communities in key areas of economic development, education, and overall quality of life. We support the communities we serve and believe that when a community thrives, its people prosper. Seven Hundred Thirtieth Program of the 2016-17 Season _______________________ Philharmonic Orchestra Carl St. Clair, Conductor _______________________ Eine Alpensinfonie (An Alpine Symphony), Op.
    [Show full text]
  • 14 July 2017 Page 1 of 13
    Radio 3 Listings for 8 – 14 July 2017 Page 1 of 13 SATURDAY 08 JULY 2017 5:35 AM recording of Vaughan Williams©s plea for peace, tolerance and Mozart, Wolfgang Amadeus (1756-1791) understanding written in 1936, his Dona Nobis Pacem. The piece SAT 01:00 Through the Night (b08wn5ld) Violin Sonata in B flat major, K.454 is on a huge scale, scored for soloists, chorus and large orchestra, RTS Symphony Orchestra - Serbia Johannes Leertouwer (violin), Derk Pik (piano) in six continuous parts, and the phrase Dona nobis pacem "Give Catriona Young presents a performance of Smetana©s cycle of us peace" recurs throughout; a theme with perennial relevance. symphonic poems, Má vlast, from Serbia. 5:58 AM Zelenski, Wladyslaw (1837-1921) arr. Jan Maklakiewicz Composer: Vaughan Williams 1:01 AM 2 Choral Songs: Zaczarowana królewna (The Bewitched Piece: Dona Nobis Pacem Smetana, Bedrich (1824-1884) Princess) ; Przy rozstaniu (At Leave-taking) Reviewer: Alexandra Coghlan Má vlast - cycle of symphonic poems Polish Radio Choir, unnamed pianist, Marek Kluza (director) RTS Symphony Orchestra, Ronald Zollmann (conductor) 10.15am ± New Releases: Baroque Instrumental 6:05 AM The Fiery Genius 2:22 AM Noskowski, Zygmunt (1846-1909) CAILO: Sonata per violino e basso continuo; Sonata a tre violini Berezovsky, Maxim (1745-1777) The Pearls of Moniuszko - 15 Songs for orchestra e organo; Sonata a due violini e cembalo Ne otverzhy mene vo vremia starosti (©Do not forsake me in my Polish Radio Symphony Orchestra, Lukasz Borowicz (conductor) FIORENZA: Concerto di violini
    [Show full text]
  • Festival Richard Strauss
    RICHARD STRAUSS Torino, 2-25 febbraio 2018 Un progetto di CITTÀ DI TORINO TEATRO REGIO TORINO RICHARD-STRAUSS-ARCHIV GARMISCH RICHARD-STRAUSS-INSTITUT GARMISCH-PARTENKIRCHEN ASSOCIAZIONE AMICI DEL REGIO ARIANNA PER LA MUSICA AMBAscIATA DELLA REPUBBLICA FEDERALE DI GERMANIA A ROMA BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO ASSOCIAZIONE ABNUT - AMICI BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO CONSERVATORIO “GIUSEPPE VERDI” DI TORINO ORCHESTRA FILARMONICA DI TORINO ASSOCIAZIONE BARETTI UNIONE MUSICALE ORCHESTRA DA CAMERA “GIOVANNI BATTISTA POLLEDRO” ACCADEMIA DEL SANTO SPIRITO I MUSICI DI SANTA PELAGIA ACCADEMIA CORALE STEFANO TEMPIA ASSOCIAZIONE CONCERTANTE - PROGETTO ARTE&MUSICA CIRCOLO DEGLI ARTISTI ORCHESTRA SINFONICA NAZIONALE DELLA RAI GOETHE-INSTITUT TURIN ACCADEMIA DI MUSICA DI PINEROLO UNIVERSITÀ DEGLI STUDI DI TORINO - CENTRO STUDI SUL TEATRO MUSICALE IL CIRCOLO DEI LETTORI ASSOCIAZIONE CULTURALE ORGANALIA ACADEMIA MONTIS REGALIS MARCHESATO OPERA FESTIVAL - COMUNE DI SALUZZO - FONDAZIONE SCUOLA APM DI SALUZZO ASSOCIAZIONE ANTIDOGMA MUSICA MUSEO NAZIONALE DEL CINEMA INPOETICA - FESTIVAL TRASVERSALE DELLE ARTI Dopo il successo del Festival Alfredo Casella, che nel 2016 si è aggiudicato il Premio Abbiati dell’Associazione Nazionale dei Critici Musica- li per l’originalità del progetto, e del Festival Antonio Vivaldi l’anno scorso, il 2018 è l’an- no di Richard Strauss. Al compositore tedesco più in vista e di successo nella prima metà del Novecento viene dunque dedicato il terzo festi- val monografico, interdisciplinare e collegiale realizzato a Torino: interdisciplinare perché nei 33 appuntamenti che lo costituiscono sono coin- volte più forme artistiche; collegiale perché tutto il programma è frutto di una vasta sinergia che coinvolge circa trenta istituzioni culturali. Richard Strauss (1864-1949) ebbe un forte lega- me con l’Italia e la sua cultura, come testimonia la mostra documentaria allestita per l’occasione e che significativamente inaugura il Festival.
    [Show full text]
  • A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.
    [Show full text]
  • Richard Strauss' Eine Alpensinfonie
    Richard Strauss’ Eine Alpensinfonie: A Culmination and Rejection of Nineteenth Century Philosophical Influences Chloe Tula MUSI 551 Dr. Bailey November 18, 2016 !1 ABSTRACT The goal of this paper is two-fold: on one hand, exploring how Alpensinfonie both challenges and stays true to traditional symphonic idioms, and on the other, examining how it fits into Strauss’s compositional career, personal religious journey, and the greater landscape of early 20th century leanings towards modernism. This paper is part analysis, part biography, and part historical analysis. Strauss clearly had a unique (and changing) perspective on Friedrich Nietzsche’s writings, and this often drew sharp contradictions in his life; one can view evidence of how this plays into Alpensinfonie, especially when contrasted against Zarathustra (1896), which shares many motives with Alpensinfonie (which, coincidentally, was sketched out as early as 1899, before Strauss’s operatic career took off). While Un Alpensinfonie is not his definitive - and far from his final - work, it is an important landmark in Strauss’s ever-changing compositional perspective. In Un Alpensinfonie, Strauss overturns norms of the early twentieth century by constructing an intense, one-movement symphony that all but replaces lofty reverence of deity figures with a more universal reverence of nature, adding to the collection of earth- conscious masterpieces (e.g. Rite of Spring, La Mer, The Planets for instance) that inspired a irreversible large-scale shift to programmatic and agnostic-leaning music in the European modernist movement to follow. INTRODUCTION Richard Strauss’ final tone poem, Un Alpensinfonie (An Alpine Symphony) is largely overlooked in the analyses of his tone poems.
    [Show full text]
  • Digital Concert Hall
    Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence.
    [Show full text]